Left-wing populism? Don't hold your breath

Why "the cuts" aren't as big an issue as we'd like to think.

In my opinion, the emergence of a "left-wing UKIP" - a successful, left-wing populist party in Britain - is unlikely. But what are the chances of "a left idealistic populism refusing to accept the pragmatism of office . . . a possible wider 'no cuts, no austerity' movement", as suggested by Anthony Painter? There are a couple of significant hurdles the anti-cuts movement today that would be tough to overcome.

Firstly, and I am sorry to say it, for most people "the cuts" plural are not as big an issue as you, I, and everyone on the left would like them to be. People are worried about the changes to the NHS. Cuts to social security, and particularly to disabled people, are building up a reservoir of disgust. And councils up and down the land have faced localised save our services-style campaigns. But the missing ingredient is a diffuse consciousness that links all these up, despite the best efforts of the lefter-leaning trade unions and the far left. The cuts are necessary and there is no alternative - to borrow a tired old mantra.

Unlike UKIP, whose rise as the de facto "none-of-the-above" party owes a great deal to the rabidly right wing press, an anti-cuts left populism will not monopolise the acres of media coverage our band of "loonies, fruitcakes and closet racists" commands. Straight away, they're at a disadvantage. Secondly, the workplace and community-rootedness of the labour movement is not what it used to be. With the deliberate smashing up of whole sectors of industry, and the deliberate policy of allowing the winds of globalisation to howl virtually unfettered through the British economy has ripped away the sort of class-based organising capacity that facilitated the emergence of new left/workers' parties across the continent, for instance.

A poll tax or 10p tax moment could change things very, very quickly - but not even this incompetent shower are dumb enough to go down those roads. Organisation can very occasionally be short-circuited and jumpstarted by consciousness if an issue is significantly weighty. And, as you might expect, the political dynamics that condition the viability and potentiality of social movements alternate with the switching of governments. Which, as Anthony notes, makes the government's refusal to take advantage of low interest rates to borrow money now to invest all the more unforgivable - low rates aren't likely to avail themselves in two years time.

I'm not forecasting a "crisis of expectations" in the next Labour government. After all, the two Eds are going out their way not to get anyone's hopes up, about anything. Nevertheless there are significant revenue-neutral measures Labour can enact to get the economy going and forestall populism, whether it's of the left anti-cuts variety or the right's EU/immigrant-bashing. The mansion tax/10p tax trade off is a welcome first step in the direction Labour needs to be heading. The reversal of this government's corporate tax subsidies and restoring the 50p tax to pay for VAT cuts would put money in people's pockets. Scrapping the public sector pay freeze (and implementing strict salary ratios within it) would do the same too. Most important Labour needs to start thinking now about root and branch reform of workplace law to counter and roll back the seemingly unending trend toward casualisation and part-time working. If you want to rip out the appeal of populism, if you want to get people spending again, and, crucially, you want people to get more involved in community-type things, like joining the labour movement and supporting the Labour Party, then you need many millions more to enjoy security and stability in their everyday lives.

Populism is, in many ways, the politics of despair. Labour has it within its gift to counter that, and it need not empty the exchequer.

Ed Miliband's message: don't get your hopes up. (Photo: Getty.)

Phil Burton-Cartledge blogs at All That Is Solid and lectures at the University of Derby. He tweets as @philbc3.

Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.